Professional Editing — Is It Necessary?

From the New Yorker on Charles Dickens’s 200th Birthday

Is professional editing necessary? The short answer is no. The long answer is maybe.

But before we get into this subject, we need to define what is meant by “professional editing” and what is meant by “necessary”.

What is Professional Editing?

A professional is one who does something for a living. An editor, in our context, is a person who “corrects” a typescript for a novel or story.

Broadly speaking, there are two types of editors: content editors and line editors, or proofreaders.

Content editors edit a book’s content. They look for continuity issues, plot holes, structure issues, character defects, and the like. This is high level editing.

Line editors, or proofreaders, look for typos, misspellings, grammar issues, punctuation problems, and the like.

The purpose of an editor is to alert the author to problems with the book so the author can fix them and supposedly improve the book. However, a professional editor isn’t the only person who can do this. As we’ll see.

Necessary

Webster’s New World Dictionary, Second College Edition, defines necessary, in our context, as something “that must be done; mandatory; not voluntary; required.”

Is an indie author required to use the services of a professional editor? Obviously not, since they are voluntarily hired in the first place. Therefore a professional editor is not necessary. Is one recommended? Maybe.

The Problem with Editors

The problem with editors is the same problem with any professional: they’re human. They’re people like you and me and that’s the problem with them.

Professionals charge money for their services — but in the end can really guarantee nothing. When I hire an editor, I’m simply hiring one person’s opinion. That’s it. Nothing more. Nothing less.

This goes for any professional. Whether your doctor or your mechanic. We all know there are doctors who make bad decisions (I was the victim of one) and mechanics who are unscrupulous. We who are the non-professional need to be as informed as possible, so we aren’t taken for a ride.

Every editor I know, puts his or her pants on the same way I do. Sure he or she may have gone to school to learn the craft of writing. But I know of few editors who make a successful living from writing fiction. If they can’t make a living from writing fiction, then how valuable is their advice?

“But so-and-so — an award winning author — has John Doe for an editor. So John Doe must be good.” That’s assuming the writer’s success can be directly attributed to the editor. And if it can, then I question the writer’s ability to write. If a writer can’t succeed without an editor, then in effect the editor has become a co-author.

At the end of the day a professional editor has biases, prejudices, agendas (just like everyone else) that have nothing to do with my writing or me as an author. Yet those biases, prejudices, and agendas can adversely affect me as author.

The Problem with Writers

We writers, as many in the creative arts, are plagued with a host of self-defeating problems. They seem to go with the territory. I know I’ve had my share. Here are a few:

  • Insecurity issues
  • Inferiority complex
  • Low self-esteem
  • Lack of self-confidence
  • Procrastination
  • Perfectionism
  • The need of approval by others and from those in authority

These problems open writers up to be easy marks for the unscrupulous.

Writers fall victim to people who provide them with approval. Writers who seek approval from authority figures lose their sense of self.

I think that’s one reason why we still have traditional publishing today. Because the insecure writers need to get “approval” from the “authorities” in order to shore up their self-esteem. Getting a publishing contract makes them feel worthy. And let’s them look down their noses at the indie author “who just couldn’t make it”.

Traditional publishing is an ego trip. My agent. My editor. My publisher. And many writers want that ego drug.

And many indie authors seek the same high. “I couldn’t have done it without my editor.” Or my cover artist. Or my formatter. Or what have you. These people sound just like their traditionally published counterparts.

The point of being an indie is independence. Freedom from all that crap. The indie movement is about the producer marketing directly to consumer. Cutting out the middleman. Kind of like the farmer’s market versus the grocery store.

Solution

Are indie authors therefore free from the task of editing? Heavens no! Not if they’re concerned about putting out a quality product. The question is, do they need to hire a professional editor? And the answer is, no they don’t.

If a writer knows how to tell a good story, there is little need for a high-level edit. The content editor has little to offer. If a writer is concerned about the craft of storytelling and is in the lifelong process of honing his or her craft, then a content editor will have little to offer.

Now that same writer might benefit from a proofreader. But one doesn’t need to hire a line editor to get those services.

If a writer is not very good at telling a story, then a high-level edit may be of great help. But what may be of even greater help is simply more writing. If you’re going to an auto mechanic, do you want the one who is fresh out of school with little to no experience? Or do you want the guy who’s been doing it for 20 years?

It’s the same with writing. Practice makes perfect. It’s why Edgar Rice Burroughs advised writers to write lots. One story has little chance of getting published (in a magazine). But write a hundred and one or more will probably be accepted.

Robert Heinlein’s Five Rules of Writing operate on the same principle: lots of writing and the constant submission to market of that writing.

Writers can only improve their writing by writing. No amount of academic learning or professional editing can improve a writer’s work. Bad writing can’t be edited into good writing. It’s just well edited bad writing.

The first novel I wrote, Festival of Death, way back in 1989, was not ready for publication when I finished writing it. I was honest with myself. I read the manuscript and it just did not compare with the novels I was reading. I put it away, also realizing I didn’t have the stuff to rewrite it and make it better. Twenty-five years later, I had that stuff, rewrote it, and was pleased with the finished product. I didn’t need an editor to tell me all that. In the interim I did lots of writing. I gained confidence. I became a better writer.

We writers don’t need to spend any money to edit our own work. There are many tools available to help us and even without all those tools, there are people who won’t charge anything to proof our work and offer constructive suggestions for improvement. And I heartily recommend the people approach.

Here are a few suggestions based on my own practice:

  • Read your story with a critical eye. Put yourself in your reader’s shoes.
  • If your characters don’t make you laugh or cry, they won’t make the reader laugh or cry.
  • Read your story aloud for flow. It’s a great way to catch clunky sentences and sections that are confusing.
  • Have the computer read to you while you follow along. The computer reads exactly what’s there. A great way to catch typos and misspellings.
  • Have someone read the text to you. This combines reading the story aloud and having the computer read to you — with the added advantage of the reader being a human other than you.
  • Use the spell checker and grammar checker in your word processing program or something like Hemingway or Grammarly.
  • Use good beta readers to catch issues you didn’t catch. A good beta reader is worth his or her weight in gold. What is a good beta? One who likes your genre and ideally your writing, who has a good understanding of what makes a story work, is someone you can trust will be honest with you, understands grammar, and knows how to spell. These people exist. Go find them.

That’s all you need, and none of it costs money. Unless you choose to buy some editing software — which isn’t at all necessary. But a nice little luxury.

One other caveat: don’t be in a rush to publish. We’re indie authors. We set our own schedules. There’s no one to tell us what to do except ourselves.

We indie authors are independent authors. Don’t become a victim of the Should Mentality or the You Have To Mentality.

We write for readers, not editors.

Enjoy your freedom from the man. I do.

Comments are always welcome. Tell me what you think. And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

The Free Book Glut

Announcing all the free books in the latest author newsletter.

Free books are everywhere on the internet. The independent author-publishers are glutting the market with freebies. Why? Because writers are glutting the market with themselves and in the heat of competition to be seen, they’re giving away the store.

Now don’t get me wrong. I welcome the new technology that enables anyone who has a book inside him or her to publish that book once it’s been written. After all, this is the age of social media and books are a form of social media. They convey thoughts, feelings, imaginings, dreams, and hopes. And today’s technology makes it all that much easier for a writer and his or her audience to interact with each other. And I think that is a good thing.

What I am beginning to have a problem with, however, is the current mania of giving away books to try to secure an audience. I can’t help but think the practice is going to have long term detrimental effects on the indie movement. Here are some concerns:

  • The devaluing of books and thereby the writer’s craft. After all, if a book is free it can’t have much value — can it? And if a writer gives away his or her work, he or she can’t think much of it — can they?
  • The creation of the expectation that indie books should be free. Because, after all, the big corporate publishers don’t give anything away for free.
  • Glutting the market with more books than readers can possibly read. Too much of a good thing is, well, too much!
  • The self-delusion of writers, who are not very good, into thinking if they give enough away somebody will read their work. When in truth, they should find a different hobby or occupation. One they are much better suited at.
  • Writers deluding themselves into thinking if they give enough books away, people will love their work and buy their other books so the writer can live his or her dream and quit the 9 to 5.

The latter two points above not much can be done with. Those fall under the umbrella of self-realization. Unfortunately, even bad writers can become popular — which only fuels the problem.

Nevertheless, the first three points we writers, as a collective, can do something about.

I ran across an interesting article with comments on the subject of book giveaways the other day. Here’s the link so you can read for yourselves: http://selfpublishingadvice.org/opinion-why-indie-authors-shouldnt-give-away-free-books/

When I first started self-publishing, the debate among indies was permafree or 99¢ for the series starter. Back before 2014 I think permafree made sense as there were not so many indie authors and free actually got traction. Even so, I said there was no way I was going to give my book away for free. The Big 5 don’t do it — why should I?

Then the tsunami hit. Starting in 2014, indie authors began coming out of the walls, the woodwork, the light socket, you name it. Indie authors were everywhere. To get traction, book services began springing up overnight offering to promote their books — if it was free or 99¢ — on Twitter, Facebook, and to their mailing lists. Of course, the services weren’t free. An author had to pay for those. Pay to give away books. Hm.

Yet, I could see a certain logic in the giveaway mania that was developing. The free first book in a series was a sample of good things to come. Give away the first book and build your mailing list and reap the harvest of good things. And that has worked for some.

However, seeing the glut of indie authors and the many, many hundreds, if not thousands, of books being given away for free — I’ve started re-thinking the free strategy.

For myself, I have to admit I’ve read few of the free books I’ve downloaded. That doesn’t mean I won’t read them at some point in time because I might. But I’m not reading them now. And of course that’s what all of those authors want me to do. Read their books now and buy all of their other books. Sorry folks. It ain’t happening.

Why? Several reasons:

  • Some simply can’t write.
  • For others, the style puts me off.
  • Some are okay, good even, but the price of the other books is too high. The writing isn’t good enough for me to spend that much money.
  • Some don’t have any books to follow up with from their freebie. So why offer the first book free?
  • I have over a thousand books on my iPad. And more on my computer. Most are free. Most are classics. That’s a lot of very good stuff to read. The freebie offerers are competing with thousands of good books no longer in copyright and available for free.
  • My time is limited. I write and I read. I read what my contemporaries write to keep a finger on the pulse of what’s going on. But my contemporaries have a lot of competition.

So if I, as an author and a reader, am not reading in any great number the free books I download — why should I expect people to read mine? That is a very good question. And my conclusion is that of the 1000+ copies of my books that I’ve given away, probably few have been read. I’ve garnered a few reviews, so I know at least 5 of those freebies were read. For which I’m very grateful and thankful.

As a strategy, giving away a free book in the traditional private detective mystery genre to drum up sales of my series and build an active and supportive mailing list doesn’t seem to be working all that well. I think I have a few fans developing and I’m very pleased. But nowhere near a thousand.

Granted, there may be things I need to be doing that I’m not to turn those folks on my mailing list into rabid fans. And in fact I know there are because I’m learning more and more on the business end each day. Hopefully in time I will turn my mailing list into that group of rabid fans.

My goal, though, is not to become a bestselling author. My goal is to build a sustainable and dependable income from my writing. I don’t need fame and glory. If it comes, wonderful. But I don’t need it. I’m not sure I even want it.

So I’ve been rethinking the free book strategy. And I’ve decided that I’m going to move away from it. In the long run, I think giving away books cheapens them. Makes them less important. It develops an expectation on the part of readers that indie authors should give away their books for free. And I don’t want to be part of that — because it’s self-destructive. Writers lose and readers lose.

Writers lose because if an author can’t make money to at least cover his or her costs, that writer will stop writing.

Readers lose because the vast choice currently before them will go away. And once again readers will be at the mercy of corporate giants deciding what they should read. And who wants that?

Readers will lose again because the cheap books will go away and the mega-priced big corporate offerings will remain. I mean $15 for an ebook? Seriously?

The glut of free books may satiate readers and may even turn them off from reading. And who wants that?

My new strategy is a modification of the free book approach. It’s the sampler.

On Saturday morning, when I go into the grocery store, there are all manner of nice ladies wanting to give me samples. Cheese, meat, dips, spreads, crackers, you name it. They don’t give me the whole product. Just a sample. If I like the sample, I’ll probably buy whatever it is to give it a further test drive at home.

When I buy a car, I get a test drive. A sample of the driving experience in that car. No car dealer gives away a free car. If I like the drive, I have to buy. So why not apply that to my books, which I worked very hard at producing?

That’s my new approach. Give a sample of my writing and hopefully whet their appetite for more. Give them the invite to buy. Because we almost always value what we buy more than what we get for free.

In the process, I also hope to weed out the freebie grabbers. Those readers who’ve grown fat on freebies and expect indies to give them more and more and more.

If a freebie grabber does snap up my sampler, at least they won’t have the entire book. Just a few chapters, that they probably won’t read anyway. If they do, they’ll have to pay to read the rest of the story.

So that’s the circle I’ve traveled. No free books to free books to no free books. Just a delicious tidbit. That test drive to hopefully get folks to buy.

After all, I’m a business and no business stays in business by giving away the store.

Share This!
Facebooktwittergoogle_pluspinterest

Crime Drama: British vs American

 

Crime drama has been a television staple for decades. I’m old enough to remember the original 1950s Dragnet, with low-key Sgt. Joe Friday, and the show’s documentary approach. I also remember with fondness Colombo with its equally low-key and seemingly bungling eponymous detective.

However, in the 60s and 70s American crime drama took a turn down Sensational Lane. It’s almost as if explosions and sexual tension became more important than the mystery.

Now I admit I don’t watch a lot of TV. I prefer a good book. Consequently, I may miss some good shows along the way. However when I am looking for a good detective show to watch on Netflix, why do I invariably go British? It’s for the story.

Recently I was visiting my sister and her family and watched several episodes of Castle. In my opinion, the show was typically American. Opposite sex partners for loads of sexual tension. A focus on pyrotechnics. The deeply scarred detective, who has trouble getting close to people – especially the partner. Trope after trope after trope. In all honesty, I didn’t care much for the show.

The other day, I started watching Foyle’s War. And fell in love immediately! And the show hadn’t gone beyond the theme music! Foyle, in some ways, reminds me of Colombo or Joe Friday. He’s low-key. The show deals with common wartime crime (the show is set in World War II). The storylines are character-driven and less formulaic than American crime shows, although all mysteries are formulaic to some degree. It’s the nature of the beast.

The same can be said for Midsomer Murders. The program has its personal touches. Detective Barnaby, the happy family man, goes about unraveling sometimes quite involved murders. There are no big explosions. There is no sexual tension. Just a good mystery with fascinating characters.

Inspector George Gently is another British police procedural that I like. The time is the 1960s and the shows are dark and gritty. Yet, once again, the focus is on the characters and the crime. No pyrotechnics. No fast car chases. No sexual tension. Just the battle of wits between criminal and detective.

Bones is an American crime drama I enjoyed, although a touch far-fetched with its focus on uber-forensics. The show is typically American: fast-paced, glitzy, somewhat goofy, with plenty of sexual tension, firearms and explosions, and a tendency towards exotic criminals. I enjoyed the program for the realistic forensics, the cast of characters, and the love interest. However, after a big cast change and the getting together of the principals, the episodes lost a lot of their uniqueness.

All in all, I think British crime drama tends to be slower paced. More focus is placed on the characters and the characters are more like real people than their American counterparts, where stereotypes hold more of a dominant sway.

For me, the appeal of the murder mystery is the interplay of the characters. The detective versus the killer. Why the murderer committed the crime and what was it that pushed him or her to do the deed. How the detective uses his or hers special skills to unravel the web of deceit and misinformation. What, if any, personal demons does the detective have that might help or hinder him or her.

Ray Bradbury once advised writers to create their characters, let them do their thing, and thereby get the story.

I find British crime drama tends to follow the Bradbury formula. It’s character-driven, for the most part.

American crime drama, on the other hand, is much more plot-driven and therefore in my opinion much more formulaic. Check off the items on the plot checklist and playing the boxes are all marked — the show’s good to go.

As a reader, I’m much more interested in character-driven stories then I am in plot-driven stories. For me, plot-driven stories come across as contrived and formulaic. The people in the story are paper dolls being moved around by the author to fit the needs of the plot.

The character-driven story, on the other hand, is organic. The story grows from who the characters are, because the characters are like real people. The protagonist and antagonist on a collision course because of the choices they’ve made. And even within the confines of the rather formulaic murder mystery, the character-driven story will always transcend its plot-driven counterpart.

Let me know what you think. Do you prefer American or British crime drama, and why? Until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

Zeppelin Mania-Book Review: “Zeppelin Hindenburg”

Nothing excites the imagination more than does the great zeppelin Hindenburg. In 1936, the world was abuzz with airship fever. The fastest ocean liners were crossing the Atlantic in 5 days. The Hindenburg cut that time in half on the westbound flight. On the eastbound trip to Europe, she could sometimes make the flight in less than 48 hours.

Unfortunately, what sticks in our minds is this:

and Herb Morrison’s words, “Oh, the humanity!”, instead of this:

However, as spectacular as the disaster was, caught on the newsreel cameras of the day, the loss of life was comparatively small. Thirteen of thirty-six passengers, twenty-two of the sixty-one crewman, and one of the ground crew died.

In 27 years of commercial flight by the DELAG and its successor, the DZR, those thirty-six deaths were the only deaths that occurred. No airline today can boast of such a record.

For lovers of the airship and the Hindenburg in particular, Dan Grossman, Cheryl Ganz, and Patrick Russell have done us the supreme favor of writing the definitive book on the greatest of all airships. Zeppelin Hindenburg: An Illustrated History of LZ-129 tells the story of this great ship and captures the mood of the world when for the first time in history one could fly anywhere in the world on the DZR and its partner airlines.

The world was filled with optimism in 1936 because technology was shrinking the globe. And for those with money, the world truly was their oyster. In the midst of the Depression, there was hope that better days were indeed here again.

Zeppelin Hindenburg tells the story of LZ-129 through words and pictures. The pictures alone are worth the price of the book. The text is informative and gives us a picture into what life was like in those heady days of hope. Unlike like many books recounting history, this one isn’t as dry as week old toast.

We learn all about the Hindenburg and what it took to fly her. We learn all about her role as a flying post office. We learn what life aboard her was like for passengers and crew. (For the crew it was work, work, work.) We get a detailed look into the building of the great ship. Everything is here that any zeppelin aficionado could even hope for.

And we learn the details, the known facts, of the disaster. Grossman, et. al., also debunk several popular myths regarding the cause of one of the most spectacular aircraft tragedies ever caught on film.

Zeppelin Hindenburg: An Illustrated History of the LZ-129 is a must have for aviation enthusiasts, airship aficionados, and anyone interested in the optimism created by advancing technology.

Comments are always welcome! And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

The New Pulp Era

 

Are indie authors the pulp fiction writers of the 21st century?

That question came to me in response to a comment JazzFeathers made on my May 2nd post about indie author TS Paul. She wrote that it seemed to her the indie movement is “a new incarnation of the pulp magazines”. I think she’s on the money.

Before I start, let me emphasize that as a reader I find that most authors, the vast majority of authors, are average. They tell a decent story and that’s about it. It doesn’t matter if the author is published by the Big 5, small press, or is self-published.

We readers, I think, operate under the delusion that the big corporate publishers publish only good books. However, that’s not so. Why? Because most authors in their catalogs are mid-listers. Which means the publisher is taking a gamble on them that they might, possibly, maybe make a buck for the publisher. Most don’t and the publisher is not shy about giving those authors the boot.

The big corporate publishers are ruthless. The bottom line is king. Money, money, money.

The pulp era was a golden age for readers and writers. The pulp magazines were cheap entertainment and they proliferated like mushrooms after a rain. And every wannabe writer rose to the challenge to provide the magazines with stories.

We remember the giants. The Lovecrafts, the Howards, the Blochs. We’ve forgotten such as Seabury Quinn, Donald Wandrei, Frank Gruber, Carl Jacobi, Manley Wade Wellman, and Mary Elizabeth Counselman. And the list of the forgotten would go on for far too many pages.

But we don’t even have to go back as far as the pulp era to find forgotten authors. Who today reads E.M. Delafield, or Shirley Jackson, Pearl S Buck, Patricia Highsmith, Margaret Millar, Jay Flynn, or Cornell Woolrich? None of them are bad. They’re just mostly forgotten.

Most writers are average; and, dare I say, mediocre? But that doesn’t mean they can’t deliver a decent and entertaining story. I still remember Stanton A. Coblentz’s Hidden World 45 years after reading it. I still remember Men, Martians, and Machines by Eric Frank Russell — a book I read in elementary school 50+ years ago. They still have a hold on my memory.

Today’s indie authors are the reincarnation of the pulp era writer. They write fast, publish often, and don’t care about perfection. Why not perfection? First, it doesn’t exist; second, it gets in the way of producing lots of decent work; and third, it gets in the way of making a buck. Indie authors are writing to make money. Just like Shakespeare. Although few authors anywhere reach the lofty heights of The Bard.

From a reader’s perspective, a writer’s being average isn’t bad. Those average writers produce the bulk of the fiction we read. If the book is decent, then we feel satisfied. I mean, how many movies or TV shows are stellar? Most are ho-hum to average. And a great many, let’s face it, suck.

As a reader, I love the indie revolution. I’ve discovered great writers out there. And I dare say not a single corporate publisher would have gambled on any of them. I’ve also discovered writers who didn’t inspire me and who I won’t buy anymore books from. The market does tend to weed out the chaff.

Conversely, I’ve gotten sick of being taken for a ride by the corporate giants. I won’t read anymore Lee Child. Uninspired and boring. The same for the Quiller novels. The first couple were okay. After that they’re all the same. I’m finished with Sara Paretsky, Marcia Muller, Cara Black, and Sue Grafton. They started out great and quickly went downhill. The books are simply too expensive for the little they deliver.

This is a great time to be a reader. I love it. There are so many good books out there. Many of them quite cheap, making for satisfyingly inexpensive entertainment.

Instead of TV or the movies, read a book with your family, spouse, partner, kids, or a friend. Books truly are the greatest thing since sliced bread.

Comments are always welcome, and, until next time, happy reading!

Oh, here is the link to Cinder — it is a #mustread!!

 

Share This!
Facebooktwittergoogle_pluspinterest

Why Read Indie?

Why read indie, indeed? Aren’t self-published authors losers who couldn’t get a big publisher contract? Won’t I get a better book from a mainstream big corporate publisher?

As a reader, I can say one thing for sure: you’ll pay more money for the book you’re buying from the big corporations. And that is about it.

A few days ago, Jack Tyler posted on the Facebook public group, The Steampunk Dominion, his thoughts on the subject. Before we go any further, let me give you Jack’s post in its entirety:

WHY INDIES?

A simple question. Why should you, an experienced reader, carry a selection of independent authors on your reading list? For a very good reason. Originality.

What was the last original movie you saw? Can’t think of one? That’s because no one is making them anymore. That’s why we’re inundated with remakes of old movies, re-envisionings of old TV shows, old, popular books “brought to life” by the “magic of Hollywood,” episode CCXLVII of the big Space Saga. No one will take a chance anymore that something, God forbid, might not rake in a billion dollars a day.

Books have gone down the same path. Publishers, unwilling to take a risk, compete with one another to shovel out copies of copies of copies of The Last Big Thing. Where is the grand fantasy tale that doesn’t follow Lord of the Rings to the letter? How many versions of Twilight can you read before you can recite the plot points before you come to them? You may be surprised to hear that those cutting-edge stories and novels are out there waiting to be read, and I’m going to tell you where to find them.

In the files of independent authors. While traditional publishers cling to the center of Writingtown, searching the carefully tended lawns for the next retelling of a tired old tale, independent authors, just as independent filmmakers and musicians, are out on the fringe, past the edge of the map, chronicling the tales that no one has yet heard, that have yet to be told. These are the stories you want to read, the stories that are worth finding, the jewels that you’ll remember long after the last elf/dwarf/human/orc slashfest is in the landfill and long forgotten. These are the heirs to the tradition of storytelling.

Authors decide to self-publish for any number of reasons. Some because we have been rejected by traditional publishers, often for being too original to suit their no-risk publishing model. Some have gone indie because we didn’t want to get involved with the “you do the work, and we’ll keep the money” policy of the big publishers. Some of us are well-known traditionally published authors who have been screwed out of our due one time too many, but we all have one thing in common: We answer to our creative muse, and no one else.

We have all had an experience, maybe more than one, with an independent author who had no business writing a grocery list, let alone a book, and some of us may have said, “Enough of this! I’m sticking to the Big Five from now on.” That’s your choice, but you do yourself a grave disservice by that reasoning.

We all try new products every day. Whether it’s a new makeup, pain reliever, pipe wrench, or ball-point pen, we have all gotten our hands on one that doesn’t do what the advertisement said it would. But do we then say, “I’m never wearing makeup again!” Of course we don’t. We learn to be more careful consumers. There are many ways to carefully consume books, one of them being to never stray from the big names. Again, that’s your choice, but there are ways to find the quality indies as well, and if you want to read the books that are telling the new stories, you must include indies on your reading list. How do you find quality indies? Amazon.com is a huge help. Most of us publish there because they make it so easy, and they provide useful tools. Look for an indie who has high ratings, even if there aren’t too many of them. A low rating isn’t a deal-breaker either, unless that’s all there are, but ratings can help. Then once you find a book that looks interesting, use the “Look Inside” feature. Yes, it only shows you a few pages, but if the author can’t write, you won’t need more than a paragraph to determine that. Then, of course, there’s the tried and true method, word of mouth. If someone you know and trust is recommending an indie, by all means, take a look. You may discover worlds beyond imagining that lie at the tips of your fingers. So, come on out to the fringe; we’re waiting to welcome you.

As a reader of my fellow indie authors, I have to largely agree with Jack. Self-published authors, or Author-Publishers as I like to call them, can write and publish works no major or even small press would touch. Not because of quality, but because the publishers aren’t risk takers, or they have no idea how to market the book.

That doesn’t mean there aren’t indies who ride the current waves, for there are and their name is Legion. They are also the ones, who tend not to be very good.

Several of my current favorite authors are indies and I look forward to their new releases, because I know I’ll get a good read. One that will be entertaining, fresh, thought-provoking, and stimulating.

As a reader, I’ve been disappointed by too many big corporate-published authors. A writer who perhaps starts out promising and then fizzles by book three. Or a writer who never really starts out at all and I close the book only partly read and ask, “Why the heck did they publish this?”

By way of example: I love the TV series Midsomer Murders (well, until John Nettles retired). So I bought the first three books of the series on which the TV show was based. Carolyn Graham’s first book was great. The second book was so boring I put it down with only a quarter of it read. I loved the TV episode, though, which was based on the book.

Another example is Murder in the Marais by Cara Black. I stopped reading when Aimee Leduc (the detective) just so happens to have a neo-nazi outfit in her closet to wear when she tries to infiltrate a neo-nazi group in Paris and the group readily accepts her! Obviously Ms Black has no concept of how closed extremist groups are, and we all have neo-nazi outfits in our closet just in case we might need them. Right? Sheesh.

Yet, the Big 5 accepted Death of a Hollow Man (as boring as it is) and Murder in the Marais (as preposterous as it is) and published them. Why? Because they are easy to market. The fit conveniently on the bookstore shelf.

One more example. I love SJ Rozan’s private detective Lydia Chin. I’m less enthralled with her PI Bill Smith. The Chin books are fresh and interesting. The Smith books are typical and I’d even have to say average PI fare. Yet which books garnered the awards? Why the Bill Smith books, of course. Go figure. Not even the award givers want to go out on a limb!

I know readers frequently bash indies for typos. But seriously? Have they read current Big 5 books? Typos abound! And we get to pay big bucks for the privilege to read them!

Good indie books are out there in abundance. And they are very often at least half the price of the books put out by the Big Boys.

Take Jack’s suggestions and go hunting. A few of my favorite authors are J. Evan Stuart, Steve Bargdill, Chad Muller/CM Muller, Janice Croom, Ben Willoughby, Crispian Thurlborn, Erik Ga Bean (he’s not on Amazon), Renee Pawlish, and Sophia Martin (her Raud Grima series). And there are more!

Jack Tyler makes a great case for readers to venture outside of our little boxes and to read books written by indie authors. Independent author-publishers. The writers who are responsible only to themselves and their readers. Instead of the corporate bottom line.

You can find Jack’s series Beyond the Rails on Amazon. Here are links:

Beyond the Rails

Beyond the Rails II

Beyond the Rails III

Comments are always welcome and, until next time, Happy Reading!

Share This!
Facebooktwittergoogle_pluspinterest

Where Do You Buy Your Books?

Bookstores are dying! Print books are making a comeback! Men don’t read fiction! The publishing world is full of fake news.

The truth of the matter is that in the US, bookstores are on the ropes (along with many other brick-and-mortar stores), the Big 5 aren’t dead, print books aren’t making a comeback, and men do indeed read fiction.

Yesterday, I received Mary Rosenblum’s email. I subscribed quite a while ago because of friend found her critique of his book very helpful. She offers interesting insight into the world of publishing.

Her email contained a link to her blog post on which publishing venues are crushing it in the various genres. Her information was drawn from Author Earnings. I found the data and her speculations of interest. Hence my question

Where do you buy your books?

For myself, I buy all of my books online. And I can’t actually remember when I last bought a book in a store. Maybe 20 or 30 years ago. Possibly less than that. I honestly don’t remember.

Why online? First, I’ve always loved mail-order. Second, it’s easy. I don’t have to go anywhere to buy the product and only to the mailbox to pick it up. The cost of shipping is negligible when compared with the value of my time, wear and tear on my car, and sales tax. Although some online stores now charge sales tax.

For books, I buy ebooks mostly from Amazon. A few from Apple. Never from Barnes & Noble because they are usually higher-priced and their search engine is lousy.

When I retired, my team gave me a Barnes & Noble gift card — and I was very happy to get it. But trying to find something to buy on B & N’s website was a trip through Dante’s Inferno. Their subject search is pathetic when compared to Amazon’s. In the end, I searched for an author’s name and got what I wanted.

Physical books, I buy used from online vendors. But even there it’s difficult to get away from Amazon since they now own ABE and bookfinder.com.

Unfortunately, Amazon gets the lion’s share of my book business. And perhaps most people’s. Mostly because the competition is either on life support (Barnes & Noble) or doesn’t really care to compete (Apple) or is just very small (Smashwords and Kobo). I wish it wasn’t so, but it is. Quite honestly, along with Walmart, Amazon is the evil empire.

So where do you buy your books? Let me know in the comments!

Until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

Writer TS Paul – Does He Really Break The Rules?

This past Friday, I listened to Mark Dawson’s podcast which was an interview with indie sci-fi and paranormal writer TS Paul. You can catch the podcast on the SPF website and I’d encourage you to listen to it.

The initial hype was that Paul is a short story writer who’s crushing it with sales. Sorry, folks, that’s false advertising. Paul primarily writes sci-fi novellas and shorter paranormal novels. The visions of waltzing to the bank on my short stories quickly vanished.

The interview then went on to show all the things Paul did that were “wrong” and yet he still managed to reach a point where he’s seeing a half-million a year in sales.

Obviously, TS Paul is doing something right. So what is it?

Last week I wrote about The Writer’s Magic Marketing Machine and presented indie sci-fi and fantasy author Patty Jansen’s road map to success. Very simply, it is:

  • Write well
  • Write lots
  • Write in series
  • Publish often
  • Build a mailing list

As I noted last week, this is standard indie advice. Virtually all the successful indie authors do the 5 points above.

Dawson and his cohort, James Blatch, were dumbfounded by Paul’s success. They couldn’t explain it. On reflection, I think Paul’s success is very easy to understand — and, in fact, I’d say he’s doing most everything right.

First of all, TS Paul writes lots. A short story a week and 31 books in a couple years. Writing lots is crucial for every indie author who even hopes of being successful. It’s the key to not being forgotten.

Secondly, he writes in series. This is also critical for indie authors. Because indie readers are series readers.

Third, he publishes frequently. Publishing often keeps your name in front of readers and helps to pump up the Amazon algorithms.

Fourthly, he knows his audience. He targets the YA crowd. There is no sex or bad language in his books and the covers appeal to the eye of a young audience. I’d also hazard a guess that the shorter lengths of his books appeals to the YA folk, who primarily read on their phones.

So what does he do that is actually controversial? In the big picture, not much. He doesn’t believe in freebies. So he doesn’t give away his books. But he’s not the only writer in that camp.

He doesn’t do a lot of advertising, although he does more now than when he first began. About a $1000/month on Facebook.

He doesn’t have a mailing list. However, he’s not alone here either. What he does have is an active blog and Facebook page. Effectively, they are taking the place of a mailing list. Through his blog and Facebook page he keeps in touch with his readers and lets them know of new books.

The most controversial thing, in my opinion, about Mr Paul is his cavalier attitude towards the quality of his writing and the physical product.

He doesn’t give a fig about typos or bad grammar or lousy formatting. He says so in the interview. And the critical reviews testify to his devil may care attitude. It also appears his writing style is not all that stellar, according to the reviews.

I noticed in looking at his offerings, quite a few book blurbs note the book is newly re-edited and formatted. So maybe Mr Paul cares more about what readers think than he’s willing to admit.

The mystery for me is how a brand new nobody writer can go from $150/month in sales to over a $1000/month in the span of a few months — with no advertising. Paul didn’t say. Blatch didn’t ask. Too bad.

Based on what Mr Paul did say, my thought is that his friend, the popular author Michael Anderle, who encouraged Mr Paul to start writing in the first place, gave him a boost. Just a guess, but if correct it shows that who you know is still a very powerful means to success.

The bottom line is, TS Paul is doing everything he should be doing — except writing well and producing a quality product. But in spite of all the criticism he’s received, and there is a lot on Amazon, he’s laughing his way to the bank.

Comments are always welcome! And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

The Writer’s Magic Marketing Machine

We writers are constantly looking for the magic formula for success. We want to quit our day jobs and live off of the bucks flowing from our pens or keyboards. The success of J K Rowling, Stephen King, Danielle Steel, Tom Clancy, and others, fuels our imagination and dreams.

But what is the key to success? What is that magic formula? Is it social media? Or Facebook ads? Or maybe Amazon ads? Perhaps it’s paid reviews, such as Kirkus.

Or maybe indie success story Hugh Howey is right: there is no magic formula and success is just dumb luck. Keep writing and hopefully you’ll sell something.

I jumped into the self-publishing pond in 2014. Mostly because I’d read too many horror stories of writers getting screwed by publishers and agents. But also because being 64 I don’t have time to wait around for someone else to decide if I’m good enough or not. Let the public decide.

So in November 2014 I published 4 books and 2 more in December and waited for the money to roll in. It didn’t. It dribbled in and the dribble gradually turned into the occasional drip.

I looked for the magic formula to jumpstart sales. Unfortunately, I quickly discovered magic doesn’t exist.

However, amongst all the noise pretending to be magic, the successful indie authors continued to be of one accord. To have any hope for success, writers need to:

  • write well
  • write lots, preferably in series
  • publish often

What wasn’t said was how to put those things into a coherent plan and they didn’t mention anything about a mailing list. In the early days, I don’t think a mailing list was necessary. Today it is. The independent author/publisher is basically no different than a mail order company. And they succeed or fail on their mailing list. I spent $700 to learn that tidbit. Now I just saved you some money.

Nevertheless, how to do what the successful writers did remained a mystery.

About a month ago, I discovered author Patty Jansen’s key to success. It is the best formula I’ve found in the couple of years I’ve spent looking for the magic marketing machine. Her post — The Three-Year, No-Bestseller Plan To A Sustainable Income From Self-Publishing — is a must read for any writer who wants to make a living from writing.

There is no magic wand, my writer friends. There is only hard work and maybe, possibly, hopefully success. What I found encouraging — supremely encouraging — in Patty’s post was she has never had a bestseller. Yet, she makes 3K-5K/month (2016) and noted that her income has doubled every year. I have lived comfortably on 60K/year.

I don’t want to rehash her post here because it’s best if you read if for yourself and contemplate on it. However, I do want to emphasize a few points. Patty wrote that in order to succeed writers need to

  • write well
  • write lots
  • write in series
  • publish often
  • build a mailing list

It goes without saying writers need to write well, and the only way to learn how to write is by writing. Not rewriting, not editing, but writing. Edgar Rice Burroughs (the guy who created Tarzan) supposedly said if you write one story you have an almost 100% chance of failure and if you write 100 stories you have an almost 100% chance of having at least one success.

An indie writer needs to write lots. We are the 21st century’s version of the pulp fiction writers of the ‘20s, ‘30s, and ‘40s. Those writers had to write lots if they wanted to pay the rent and put food on their table. They didn’t have time for oodles of rewrites and edits. Robert Heinlein noted that one should never edit unless the editor makes you. Writers write.

Indie authors need to write in series. Doing so generates traction and keeps one’s name in front of the reader. As does publishing often.

And we need to build a mailing list. After all, what would we do if Amazon suddenly changed the rules and was no longer indie friendly? Most of us would be in a world of hurt. But not so much if we had a mailing list of devoted fans.

Patty’s post gives more detail and you, my writer friends, need to read it and embrace it.

In fact, her post completely revolutionized my thinking. Suddenly I had a workable game plan to follow. Where I had been wandering in the wilderness, I now had a GPS with destination keyed in. Hopefully, by 2020 I’ll be making some bucks from my writing.

I’m lucky. Being retired I have a lot of time in which to write and work on marketing. Being retired also means I have an income coming in that I don’t have to work to get. Which means I can get by very nicely with 20K or 30K from my writing. It would make a super supplement. I won’t turn down more by any means. After all, my dream car is a Rolls Royce.

Read Patty’s post and follow it. Save yourself some time and a pile of money. It’s a super simple solution to the question ‘What do I need to do to make a living from my writing.’

As always, comments are welcome! And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

The Rocheport Saga-Part 2

Last week I talked a bit about my post-apocalyptic series The Rocheport Saga. I said it was part philosophy, part family saga, part satire, part libertarian thought, part action/adventure novel, and all post-apocalyptic speculation. I also noted that the series is written in epistolary form; that is, as diary entries. I’m very fond of the epistolary format because of the intimate picture it can give us of the main character’s thoughts. Provided of course he or she is a reliable narrator. If not, then we enter a mystery world of trying to figure what is real and what is not. Either way, the epistolary novel is an ideal vehicle.

The Saga is written in story arcs, not unlike television writing, and the first seven novels form the first arc. The arc itself is divided into three parts.

Part I comprises the first two books: The Morning Star and The Shining City. And might be called “Beginnings”. This is where the story begins. Where we learn about Bill Arthur’s dream and how he intends to go about it. His dream of creating a libertarian utopia and of returning to the 21st Century’s technology.

Love Is Little, The Troubled City, and By Leaps and Bounds form Part II. The little community of Rocheport faces enemies from without and within. Our hero, Bill Arthur, is struggling to hold it all together and to do so faces the ugly reality that he will have to betray a few of his most cherished beliefs.

Nevertheless, in By Leaps and Bounds we begin to see that it does indeed look as though the community has turned a corner and will in fact survive.

Part III comprises Freedom’s Freehold and the soon to be published Take to the Sky. Whereas Part II might be titled “Conflict”, Part III could be called “Hope”. The corner has been turned and Bill Arthur feels confident the people of Rocheport will usher in a new era of peace, freedom, and technological advancement.

While The Rocheport Saga is many things, it is all post-apocalyptic speculation. The series is a realistic attempt, I think, at speculating how civilization might come back from a massive catastrophic event — and come back better than it was before the disaster. Therefore there are no zombies or other monsters in the story. Nor are there aliens from space. This is a human story of human dreams and aspirations.

The Marquis de Sade wrote philosophy in the form of pornography. And pornography was a suitable format for him to present his philosophy.

The post-apocalyptic cozy catastrophe, I found, was the most suitable format for me to express my philosophy and social views. Because, at base, the cozy catastrophe is about building a better world.

Which makes it a vehicle by which the author can criticize the current world in which he or she lives and present a model of how the problems can be solved.

S. Fowler Wright used Deluge and Dawn to portray the legal injustices against the labor class and to challenge certain social assumptions. John Wyndham used The Day of the Triffids to hint at the dangers associated with bio-engineering and to point out the dangers of military weapons orbiting the planet. In Earth Abides, George R Stewart points out how a poor black rural working family would be much more capable of surviving, than a white urban couple in New York City. Pointing out how fragile our urban worlds are. Stewart also pointed out that when push comes to shove, we are all equal by having his white protagonist marry a woman who wasn’t white. All that in a book written in the late ‘40s.

The cozy catastrophe is the perfect vehicle for world building. For creating our utopias. I’m surprised that few writers see this and utilize this form. For in the end, all writers are philosophers. Our books are either our ideal worlds or a graphic picture of what we think is wrong with the current world.

And so, in The Rocheport Saga, I present my version of what utopia would be like. No government. Sovereign and self-responsible individuals. Family centered. Social and intellectual freedom. A place where people follow the Golden Rule, respect each other, and help each other. I think it’s a vision that is very appealing and attainable.

As always, comments are welcome! Let me know your thoughts. And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest